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Music Releases 09-20-19

Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany’s unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.

NINE is the new album from Grammy nominated California rock heavyweights, blink-182. The album features soon to be classics “Darkside,” “Happy Days,” “Generational Divide,” “Blame It On My Youth,” and others.

blink-182 is Mark Hoppus (vocals/bass), Travis Barker (drums) and Matt Skiba (vocals/guitar). Since their humble beginnings in 1992 in San Diego, blink-182 have sold over fifty million albums worldwide and rocked audiences around the globe, becoming one of the defining and inspirational rock bands of their generation.

‘Why Me? Why Not.’ was written by Liam with producers Andrew Wyatt and Greg Kurstin, and recorded in Los Angeles and at RAK Studios in London. Wyatt and Kurstin previously contributed writing and production to Liam’s all-conquering debut solo album ‘As You Were’, and Liam was keen to get even deeper with them this time. As a result, ‘Why Me? Why Not.’ is a clear upgrade on ‘As You Were’ but not a radical departure. LG promises, “It’s a better record than As You Were,” which is saying something, as that was epic, wasn’t it?” The first single ‘Shockwave’ (out now) erupts into life with an indelible riff which channels The Who and T. Rex, before Gallagher bursts in on the unrelenting hook with his signature venomous punch. It’s the first new music from Gallagher since his chart-topping 2017 solo album debut As You Were and the first taste of what’s to come from his forthcoming second album, Why Me? Why Not.

‘Cause and Effect’ is Keane’s 5th studio album. Their 4 previous albums have all entered the UK charts at number 1 and accumulated sales of over 13m worldwide and 2.6 billion streams. The birth of this new album came as something of a surprise even to the band. Singer Tom Chaplin had released two successful solo albums but missed his old sparring partner Tim Rice-Oxley. Written by Keane and produced by David Kosten and the band themselves, the album features 11 new songs recorded in London.

The Shelters fan a fresh flame with classic fuel on their upcoming second full-length, Jupiter Sidecar to be released on September 20 via Warner Records. Ebbing and flowing between rock ‘n’ roll roots, surf swagger, synth swells, and unassuming pop ambition, the Los Angeles-based group—Chase Simpson [vocals, guitar], Josh Jove [guitar, vocals], and Sebastian Harris [drums]— thread it all together with catchy melodic hooks and handcrafted instrumentation. This approach quietly cemented them as a fan and critical favorite following the release of their self-titled full-length, The Shelters, in 2016. Produced by none other than the late Tom Petty, the debut garnered widespread praise from the likes of W Magazine, Rolling Stone, and Paste who noted, “The band’s sound successfully marries elements of ‘70s and ‘80s rock and roll with a modern flair.” Meanwhile, the boys racked up close to 14 million total streams with the single “Rebel Heart” and toured alongside The Head and the Heart, Royal Blood, The Killers, Gary Clark Jr., Band Of Horses, BRONCHO, Tom Petty and the Heartbreakers, Mudcrutch and more, logging over hundreds of shows in two years.

Describing the Durham-basedHiss Golden Messengeris like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook—the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano—provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness—our delicate, tightrope balance of dark and light—that offer fully engaged contemporary commentary on the present. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it.

On his new album, ‘Ideal Man,’ Andrew Combs worked with producer/engineer Sam Cohen (Kevin Morby, Benjamin Booker)to achieve a more raw, direct sound. The collection was captured live in Cohen’s Brooklyn studio, with compact arrangements fueled by taut, elastic grooves. While Combs may be best known as a singer/songwriter in the classic 1970’s Laurel Canyon sense, he proves the true versatility of his work here, often setting his acoustic aside in favor of atmospheric synthesizers and distorted electric guitars. Combs worked with some of his favorite writers on the album, including Dylan LeBlanc, Jeff Trott, Joe Henry, and Kenny Childers, but the stories he tells here are deeply personal and remarkably vulnerable.

A sense of danger and violence underlies the entire record, much as it does the entire country, but it only serves to make the moments of beauty and connection here that much more poignant. Life is short and the clock is ticking. Andrew Combs doesn’t plan to waste a second.

Sinematic is an enthralling set of songs that explore the darker corridors of human nature. The 13 song collection, is his first since 2011’s How To Become Clairvoyant and themes sprang from his recent film scoring for Martin Scorsese’s organized crime pic, The Irishman and his forthcoming documentary Once Were Brothers: Robbie Robertson and The Band. The album features guest stars such as Van Morrison, Glen Hansard, and many more.

Multi-platinum artists Fitz and the Tantrums have quickly grown from independent upstarts to bonafide hitmakers. The LA-based band are set to release their much-anticipated, fourth full length “ALL THE FEELS,” featuring lead single “123456,” this fall. “ALL THE FEELS” follows the band’s 2016 release “FITZ AND THE TANTRUMS,” which spawned the group’s biggest hit to date, “HandClap.” The RIAA-certified 2x Platinum single went top 5 on both the Hot AC and Alternative Radio charts, and also enjoyed major airplay across the country at Top 40. The band has brought the infectious energy of their live shows to the small screen, with nationally televised performances of “HandClap” on ABC’s “Dancing With The Stars,” “Good Morning America,” and “Jimmy Kimmel Live!,” NBC’s “TODAY,” “Tonight Show Starring Jimmy Fallon,” “America’s Got Talent,” and Macy’s Thanksgiving Day Parade, and the syndicated “Ellen DeGeneres Show” among others.

It's impossible not to hear freedom and excitement coursing through the veins of Marco Benevento's seventh studio album, Let It Slide. Produced by Leon Michels (The Arcs, Lee Fields), the record introduces a gritty, soulful edge to Benevento's brand of high-octane keyboard wizardry an uptempo, uplifting sound he playfully describes as hot dance piano rock. For all Benevento's virtuosity on the keys though, the songs here are driven primarily by intoxicating grooves, with spare drums and minimalist bass lines underpinning infectious, intentionally lo-fi vocal hooks. The resulting vibe is a timeless one, filtering elements of vintage R&B and soul through modern indie rock and pop sensibilities and peppering it with the kind of adventurous improvisation that Benevento's come to be celebrated for worldwide. Acceptance is a recurring theme on the record, and Benevento's songs often find themselves recognizing that contentment can come only once you've freed yourself from the chains of desire and regret. Upon close listen, one can find Benevento's own personal philosophies subconsciously bubbling up throughout the songs. You ll feel better, I ll just say / When you finally let it go, he sings on the funky Say It s All The Same, which features vocal contributions from bandmate Karina Rykman. The hazy Solid Gold celebrates the simple joy of being in the moment with someone you love, while the Lennon-esque Lorraine (co-written with Simone Felice) grapples with loss and change, and the anthemic Send It On A Rocket contemplates loneliness and connection. Dubbed one of the most talented keys players of our time by CBS Radio, Benevento's released critically acclaimed solo albums over the last decade, performed everywhere from Carnegie Hall and Newport Jazz to Lollapalooza and Bonnaroo, and worked in the studio and on the road with the likes of Richard Swift (The Shins, The Arcs), Jon Brion (Spoon, Aimee Mann), A.C. Newman (The New Pornographers), and Simone Felice (The Felice Brothers, The Lumineers) among others. Its safe to say that no one sees the keyboard quite like Marco Benevento's genre-blind mashup of indie rock, jazz and skewed improvisation, the LA Times raved, while NPR said he combines the thrust of rock, the questing of jazz and the experimental ecstasy of jam, and Rolling Stone praised the textures and colors available in his keyboards and arsenal of manipulated pedals and effects, along with his deceptively rich, catchy melodies and straight-ahead grooves.

Ekhodom is a side project from Eric Hilton of electronic duo Thievery Corporation and DJ/producer Gianmaria Conti - who was featured on Thievery Corporation’s album, Radio Retaliation. This 2LP is standard weight, black vinyl and includes a download card and CD.

Dreems [2LP]
20 years after the duo’s debut album 1999, a cornerstone of the French Touch movement, Philippe “Zdar”
Cerboneschi & Hubert “Boom Bass” Blanc-Francard’s 5th opus Dreems takes Cassius’ music back to its original
House Music roots, an integral part of their acclaimed DJ sets. Dreems was released on June 21, just two days
after a tragic accident at his home in Paris took Zdar’s life. He was one of the original Godfathers of the French
electronic scene. Releasing in the US on CD & LP September 20.

Darrin Bradbury writes about the way things really are in America – a singular perspective shaped by a natural gift for storytelling and a sly sense of humor. A self-described folk satirist who has toured the country for more than a decade, Bradbury collects his oddball observations in his newest album, Talking Dogs & Atom Bombs. Bradbury grew up in New Jersey with an early interest in performing, partly because of his mother’s career as a circus clown. At the age of 7, he felt certain that he would either become a songwriter or a cartoonist. He learned to play guitar as a vessel to tell his stories. By the age of 18, he’d discovered Bob Dylan, Jack Kerouac, and Paul Simon, and decided to hit the road. At 25, he moved to Nashville, to try making it as a songwriter. For three months, he slept in his car in a Walmart parking lot, and developed a local following by playing open mic nights. With a handful of self-funded EPs and albums, Bradbury steadily cultivated a national audience by touring constantly. Talking Dogs & Atom Bombs is Bradbury’s first release for ANTI- Records. - Album Produced by Kenneth Pattengale of The Milk Carton Kids - Featured players on this album include a “who’s who” of Nashville players including Margo Price (featured vocal on “The Trouble With Time” ) , Kenneth Pattengale (vocals, mellotron), Jeremy Ivey (bass, piano), Alex Munoz (guitar, lap steel, vocals) and Dillion Napier (drums).

I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living-consumed by drugs, alcohol, and addiction-such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood-his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP-and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far.

Kill or Be Kind is Samantha Fish’s fifth studio album, but her debut release with a firm independent label and major distribution outlet. Selling out approximately 90% of her shows (stateside and internationally) her highly engaged live audience translates online as well. Month-to-month, her Facebook page likes increase by over 50% and her official Facebook Group boasts 70k members. Kill or Be Kind is poised to break her out of the blues market as it sonically caters to both rock and Americana fans, and expand her demographic out to a younger, female audience.

On his first new album in seven years, GRAMMY Award-winning conguero Poncho Sanchez celebrates the life and music of the iconic saxophonist John Coltrane. Due out September 20, 2019 via Concord Picante, Trane’s Delight is a love letter from one musical pioneer to another, as the Latin Jazz legend pays homage to one of his earliest and most indelible influences. The joyous album arrives just in time for the late tenor titan’s 93rd birthday on September 23. Trane’s Delight also continues Sanchez’s remarkable 37-year relationship with Concord, a rich legacy that has now yielded 27 albums. The album features the conguero’s longtime band, featuring trombonist and musical director Francisco Torres, trumpet and flugelhorn master Ron Blake, saxophonist Robert Hardt, pianist Andy Langham, bassists Rene Camacho and Ross Schodek, and percussionists Joey DeLeon and Giancarlo Anderson.

On his latest album, OVER THE RAINBOW, Herb Alpert began the same way he has done for all of his albums over the years: searching for great melodies. That search has resulted in the prolific trumpeter’s latest offering, a collection of 11 classics and 1 brand new, original track. That original song, “Skinny Dip”, opens the album with a quirky, fun vibe before things move on to recognizable tunes from the great American songbook, which are included for various reasons close to Herb’s heart. He felt the danger in the tightrope walk of recording his own version of the iconic “Over The Rainbow”, which was cemented within pop culture by Judy Garland's performance and many other fantastic recordings. And whether it’s a tribute to Gypsy jazz guitarist Django Reinhardt on “All Love”, Bill Withers on “Ain’t No Sunshine”, or the great Louis Armstrong on “What A Wonderful World”, there is always a deeper connection and meaning for Herb on every cover selected for this album, making it one of the most personal projects he has ever worked on. OVER THE RAINBOW will be available everywhere on September 20 from Herb Alpert Presents.

The title “Restless Heart, Keep Running” is not only one of their favorite lyrics from the final track on the album, but it’s meaning has countless layers pertaining to the major theme(s) of the record, with that “Final” song being a major point where many of the themes intersect. For those who know “Capstan” these songs represent us finally cementing ourselves dynamically within the boundaries of a full-length record (this being our first). This is us stretching our sound to the corners of what we are - and beyond - and a step towards what we feel real fans have imagined from us as we’ve grown over the years. It is everything Capstan was, is, and is going to be. The title plays into the “push” or inspiration found throughout the record (even in the trying times) and coincides with the broad and open, flowing nature of each song. There are many different styles and feelings from song to song, but all the while we have the human heart as a central role in every theme connecting them to become one full and flowing work of art.

The classic Rodrigo y Gabriela album ‘Live In Japan’ is available on vinyl for the first time. It is a 2xLP release, remastered from the original source audio by John Webber at Air Studios, London and is pressed on heavyweight red vinyl. It includes tracks from Rodrigo y Gabriela’s self-titled album with older live favorites, and also includes a new track – ‘OK Tokyo’ - as well as Rod & Gab’s legendary solo jams recorded for the first time.

The purple vinyl album features an array of hard rock repertoire from 2007 including album tracks by LINKIN PARK, DISTURBED, SMASHING PUMPKINS, THE USED, HIM, TAKING BACK SUNDAY, ARMOR FOR SLEEP, IDIOT PILOT, MUTEMATH and others. GOO GOO DOLLS contributed “Before It’s Too Late (Sam And Mikaela’s Theme)” for the two protagonists. This is the first time the album has been on vinyl.

The album features an array of hard rock repertoire from 2009 including album tracks by GREEN DAY, CAVO, THE FRAY, NICKELBACK, THEORY OF A DEADMAN, THE ALL-AMERICAN REJECTS, HOOBASTANK, STAIND and AVENGED SEVENFOLD. LINKIN PARK, THE USED and TAKING BACK SUNDAY appear for the second time on a Transformer Soundtrack. CHEAP TRICK contributes the track “Transformers” (The Fallen Remix).

Naming their band after a short story about a plane crash might have been a mistake. Because, for transatlantic, country-infused rockers One Eleven Heavy, it's been two years of trials and near-death experiences. One Eleven Heavy is lucky to be alive. And you only need to listen to the music on this, their brilliant second album "Desire Path" to understand that's how the band feels. Because it's a wry, occasionally biting, but always joyful celebration of human endurance and the ability to overcome. The musicianship is a step up from their raggedy, but already accomplished, debut, too. The album is laced with lush three-part vocal harmonies and two-part harmonized guitar licks, recalling those classic Allman Bros runs at the same time as it brings to mind timeless classics by Hendrix, the Stones and, of course, the Dead. For One Eleven Heavy, being miraculous is a goal worth striving for. And the only route to it is by the 'Desire Path.' Take it.

Michael Schenker is a legendary figure in rock, one of the most gifted and influential guitarists of all time. His work with Scorpions, UFO and the Michael Schenker Group made him a hero to millions of fans and inspired a generation of musicians, including Steve Harris of Iron Maiden, Kirk Hammett of Metallica, and Slash of Guns N’ Roses. And with Michael Schenker Fest, an ambitious and unorthodox project featuring four singers with whom he has worked since 1979 – Gary Barden, Graham Bonnet, Robin McAuley and Doogie White – the drive to create new music is based on the same ethos that has shaped Schenker’s whole career, ever since he recorded his first album “Lonesome Crow” with the Scorpions in 1970 at age 15.

“Never” is a word that has come up many times throughout the existence of Louisiana’s pace-setting thrash/hardcore pioneers, Exhorder. After two short-lived reformation periods following the 1993 breakup of the band, Exhorder returned to the stage in 2018. In addition to their long-awaited live return, which won over any skeptics and proved Exhorder indeed was back, the band has forged a new album for a 2019 release, “Mourn the Southern Skies”. While finally encapsulating the live sound that the band had built its legendary reputation with, “Mourn the Southern Skies” is an intoxicating concoction of old school thrashers and groovers blended with a modern, mature Exhorder.

The follow-up to 2016's 'Summer 08', 'Metronomy Forever' features 17 tracks. Its length is born from a desire for breathing room, from not wanting to stuff the hits together like a bouquet of petrol station roses - a modern way of listening to music. Metronomy's innate skill for blending off-kilter funk, energising club vibes and esoteric pop is interspersed with some mood-setting, glistening and melodic electronic tracks. The band's leader Joseph Mount called upon a variety of inspirations for this album. Most notably, he wanted to replicate the feeling of listening to the radio, with an infinite quality, sumptuous songs of different styles, ever rolling, helping to lighten your mood. Moving away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England had an impact, infusing the album with a sense of tranquillity and a calm joy that reflects the relative happiness of his existence. Also influential was time spent working on Robyn's critically adored 'Honey' album, with a similar feeling of emotional, intense, carnal mania informing songs such as 'Sex Emoji' and 'Salted Caramel Ice Cream'. The follow-up to 2016's 'Summer 08', 'Metronomy Forever' features 17 tracks. Its length is born from a desire for breathing room, from not wanting to stuff the hits together like a bouquet of petrol station roses - a modern way of listening to music. Metronomy's innate skill for blending off-kilter funk, energising club vibes and esoteric pop is interspersed with some mood-setting, glistening and melodic electronic tracks. The band's leader Joseph Mount called upon a variety of inspirations for this album. Most notably, he wanted to replicate the feeling of listening to the radio, with an infinite quality, sumptuous songs of different styles, ever rolling, helping to lighten your mood. Moving away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England had an impact, infusing the album with a sense of tranquillity and a calm joy that reflects the relative happiness of his existence. Also influential was time spent working on Robyn's critically adored 'Honey' album, with a similar feeling of emotional, intense, carnal mania informing songs such as 'Sex Emoji' and 'Salted Caramel Ice Cream'.

Nils Frahm announces the release of Encores 3 on 13th of August, the third and final instalment of his Encores series. Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work. 'The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.' Moulded during All Melody but refined by his live performances, All Encores is testament to Nils' exceptional ability to craft his art on stage. Artificially Intelligent which showcases his 'mad professor' organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for 'lookout' and hints at what's to come, as Nils experiments with his newly acquired System 55. Frahm has been touring extensively following the release of All Melody, bringing his spectacular live show all around the world with sold out performances including the Hammersmith Apollo in London, L.A.'s Disney Hall, Brooklyn Steel, Le Trianon in Paris and Funkhaus in Berlin. Nils returns to the UK capitol for The Hydra's summer 2019 series, headlining Printworks on August 23, with further European dates following the release of Encores 3 and All Encores.

The Parlor Mob drive rock music off its usual path and into new territory altogether, and their new album is a clear reflection of this adventurous spirit. On Dark Hour, their upcoming full-length debut for Brittania Row Recordings/BMG, the group synthesizes raw and robust musicality with cinematic production, sonically pushing boundaries and recharging rock ‘n’ roll musicality through a lens of 21st century production.

Chastity Belt talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other. Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.” Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better. Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favor of the long game. In favor of each other. In this cultural moment, taking space like this to prioritize the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

LIFE's anti-establishment outlook and witty, off-centre social commentary underscores everything they do. Known for clever wordplay and energetic performances, they tackle the new wave of youth and working class discontent with both style and savvy. Their debut album, Popular Music, graced BBC Radio 1's list of the best albums of 2016. On their sophomore release, A Picture Of Good Health, produced by Luke Smith (Foals) and mixed by Claudius Mittendorfer (Parquet Courts), the band hone in on a bigger and more focused sound. Whereas Popular Music was broadly political, the new album, takes a more personal approach with beguilingly honest and brave lyrics while retaining their core DNA.

Charley Crockett's been running nearly his entire life, but with the title track to his sixth album, the Texas songwriter looks back at where he came from. "The Valley" chronicles his hard upbringing on the south Texas border, but it also distills the essence of Crockett's fierce and restless independence. Recorded just a week before he went under the knife for life-saving open heart surgery in January, the album stirs with an introspection and urgency to tell his story. It's a story of an artist searching for his place in the world, absorbing the sounds of the country; it's a story of exile and promise.

David Kilgour's 11th solo album, Bobbie's a girl, is a quieter affair than fans may associate with the pioneers of New Zealand indie rock. Largely missing the jangly distortion of Kilgour's other work, the album's ten songs exude a hazy warmth, with a light psychedelia that recalls the '60s outfits like The Byrds and The Velvet Underground.